Emilio de la Morena
February 19, 2013 London
Elsewhere, de la Morena made fine use of a cool, kaleidoscopic octagonal print, and cut angled slits into his pencil skirts. Good old Euclid always makes for an effective antidote to froth. The primary quibble was with the flapped dresses—these were a nice idea in theory, but the strips of fabric at the front of the skirts had an unhappy habit of getting caught between the models' legs as they walked. That was an off note in a collection that generally emphasized the practical—something of a breakthrough development for de la Morena, in fact. The daywear here dispensed with the conceptual, for the most part, and made an impact just by looking good. The trousers and coats were terrific, and though a slouchy jumpsuit in plush wool seemed an outlier to the rest of the collection, the look on its own was a winner. All in all, this show saw Emilio de la Morena settling into a nice new rhythm—his characteristic fastidiousness still applied, but he also found ways to cut loose.